Bite You To Death Records

Rock Goddess 'This Time'

Bite You To Death Records

Rock Goddess 'This Time'

You could call them an all-female British heavy metal band but that doesn't really do them justice. Because while this is certainly true, they transcend gender and nationality, being one of the most significant, uncompromising and celebrated hard rock/metal bands of the past four decades. It all started in Wandsworth, South London during 1977.

Featuring Jody Turner (guitar/vocals) and her younger sister Julie (drums). At the time, they were 13 and nine years old, respectively. But guided by their father/manager John, a respected name on the London music scene, they immediately proved there was real talent, ambition and intent in their vision for a cogent band.

With a line-up completed by bassist Tracey Lamb (a school friend), the trio began to get noticed. They briefly flirted with the idea of adding a second guitarist to the line-up – both Donnica Colman and Jackie Apperley – but it was as a three-piece that Rock Goddess worked best. And after a landmark appearance at the Reading Festival in 1982 (on a bill headlined by Iron Maiden and also featuring Gary Moore and Blackfoot), they got a record deal with A&M.

A year later, the band's self-titled, debut was released, charting at number 65, and showing that they had the quality and power to compete with any of the NWOBHM bands making an impact at the time.

Produced by Vic Maile (who had previously recorded a demo with the band, and had also worked with Motörhead and Girlschool), the album had influences from The Runaways, AC/DC and the aforementioned Motörhead, but it was obvious that here was a band who had their own style. Songs like the anthemic 'Heavy Metal Rock 'N' Roill' and the more compact 'My Angel' (which got to number 64 in the UK singles chart) proved there was class and grit about this lot.

Later that year, Dee O'Malley replaced Lamb. She also brought a keyboard sensibility to the band, which gave them an extra dimension (again, they had thought about adding another guitarist, with Kat Burbella taking the role for a short time). This came through on second album 'Hell Hath No Fury'.

Produced by Chris Tsangarides, it was released in October '83, hitting the Top 100 in the UK, as the single 'I Didn't Love You (Till I Saw You Rock And Roll)', which made it to number 57 in the British chart. The band definitely retained their crucial edge, but showed they were maturing as musicians and songwriters.

This also came through at the end of the year, when Rock Goddess co-headlined a hugely successful British tour with label mates Y&T. And this was followed by tours across Europe supporting both Iron Maiden and Def Leppard.

There was little doubt by now that the band were not merely consistent, quality performers, but were moving forward and had the respect of peers and fans alike. In 1986, as they prepared for an American tour, O'Malley – now pregnant – left. In her stead, bassist Julia Longman and keyboard player Becky Axten were brought in to the line-up. However, O'Malley was featured on the band's third album, 'Young And Free'.

This was released in France during 1987 by JID, following Rock Goddess' departure from A&M. It was co-produced by Paul Samson and Jo Julian and recorded in '85. But later in '87, the band split up, due to various problems. But there was never any doubt about the band's legacy. In anything, in their absence the reputation grew. And in March 2013, the classic trio of the Turner sisters and Lamb officially reunited; there had been talk about this happening four years earlier, but this didn't materialise in the end.

If anybody had doubts of the sense in the band getting back together, then some barnstorming live performances totally dispelled these. The band not only appealed to those diehard fans from the '80s, but also proved they could attract a new, younger audience, In May 2017, the first new recording from this threesome in 34 years was released. This was the EP 'It's More Than Rock And Roll', which came out through Cargo.

The three songs here underlined what the Goddess had to offer the modern era, being brash, thunderous and full of attitude – the band had not only lost none of their old drive, but added a 21st century sparkle. In July 2018, Lamb left the band due to 'unforeseen personal circumstances', and after a rigorous search and audition process, Jenny Lane was confirmed as the band's new bassist in October the same year. Now it's all gearing up to the eagerly anticipated new album from Rock Goddess.

'This Time' will be put out through their own label Bite You To Death Records in conjunction with Cargo on March 1st, 2019. Mixed and mastered by Wes Maebe (Robert Plant, New Model Army, Praying Mantis), it will feature Lamb's bass parts, despite her recent departure.

Rock Goddess have already contributed so much to the history of hard rock and metal. Their place among the elite has long been assured. Now, they are ready to take it.

Tracklisting:1. Are You Ready?2. Obsession3. Two Wrongs Don't Make A Right4. Calling To Space5. Flying To See You6. Why Do We Never Learn?7. This Time8. It's My Turn9. Drive Me Away

C93 have dreamt a new album, Invocations Of Almost, using music from her FuturePast and her PastFuture, to accompany David Tibet’s art exhibition, Invocations Of Almost, which opens on March 9 at The Begovich Gallery, Fullerton, CA and lasts for around 2 months The CD version of Invocations Of Almost is 59-minutes long, as it is launched on David’s 59th BirthDay, March 5, whilst he is in LA for the official opening of his show on March 9. There will also be a vinyl LP edition, which sings a slightly shorter version, mixed specifically for the 12”. The music on Invocations Of Almost will be played on a continual loop in The Begovich Gallery whilst the exhibition is open.

London-based psychedelic stalwarts Josefin Öhrn + The Liberation are proud to reveal their third album 'Sacred Dreams' for Rocket Recordings. Continuing to dive into the deeper waters of experimentation, ‘Sacred Dreams’ is both a musically hefty amalgamation of reverb drenched space-rock and retro centric electronics, as well as an emotionally cathartic release for the band, marking a new direction and fresh approach.

Since their critically acclaimed album 'Mirage' was released, Josefin and writing partner Fredrik have relocated from Stockholm to London and have created a new Liberation around them - this new band consists of the powerful and intuitive assemblage of musicians; Maki (Go Team), Patrick C Smith (Eskimo Chain), Matt Loft (Lola Colt) and Ben Ellis, who’s worked with both Iggy Pop and Swervedriver.

‘Sacred Dreams’ was largely recorded at Press Play Studios (King Krule, Fat White Family, Yves Tumor, Stereolab, High Llamas and many others) run by Andy Ramsay of Stereolab, who also produced and even programmed his non synced drum machines adding a lot of inspiration to the album. ‘Scared Dreams’ invites you into the bands own dimensional soundscape, a world built with transcendental guitars, driving grooves and otherworldly, enchanting vocals, altogether seeped in layers of blissfully produced synths.

Opener and lead single ‘Feel The Sun’ encapsulates this new direction perfectly before the anthemic ‘I Can Feel It’ makes the bands intentions known. Elsewhere playful 80s electronics sit alongside a shoegaze sensibility effortlessly and amongst the textured flow of the LP emerge pop hooks like the infectiously bluesy ‘Baby Come On’.

Josefin tells us “This album comes out of a period of heartbreak, loss and dissolution, but also of deep love, warmth and beauty unveiled in the middle of it. A sacred dream, the way we see it, is not necessarily a golden fluffy cloud river, but instead also contains all the shadows that need to be seen and felt in order to drop what has to go in order to truly live. And the dissonance of such a dream may not be immediately apparent, let alone the meaning of it. In a way all of these tracks seem to emanate from that place where we have almost reached a new shore, or maybe we missed it and are headed somewhere else entirely, but there’s no way of telling until afterwards.”

The inventors of lo-fi indie rock return with a 15-track blast of melodic melancholy, all delivered by the smudged middle finger of Dinosaur Jr original Lou Barlow…

“The auteur of the subterranean lovesick blues.” Houston Press

Their first studio album since 2013’s ‘Defend Yourself’ and their first release with Fire Records, Lou Barlow, Jason Loewenstein and Bob D'Amico return with a smorgasbord of beautifully dysfunctional tunes harking back to their finest college rock anthems.

It’s Barlow at his introverted songwriting best; matter-of-factly delivering a stream of self-questioning stories, punctuated by detuned guitars, spine-tingling time changes and throwaway one liners.

Commemorating thirty trips around the sun as one of metal’s most monolithic bands, Earth have announced plans to release their ninth studio album, Full Upon Her Burning Lips. A purge of the embellishment and panache from previous releases, Full Upon Her Burning Lips intimates Earth’s commitment to the minimalism of their primordial days.

Deconstructing the tried-and-true dynamic consisting of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion, Full Upon Her Burning Lips taps into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. In addition to scaling back the flourishes of their hulking, drone-driven opuses, Full Upon Her Burning Lips was composed sans narrative, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed.

The record was engineered, mixed, and mastered by long time associate Mell Dettmer at Studio Soli. Showcasing Carlson’s sepia-toned Bakersfield Sound guitars and Davies’ death knell drums, Full Upon Her Burning Lips mines for the expressive, nuanced, and tonally rich components of Earth’s arsenal of sound. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

“I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,”Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

Tracklisting:1. Datura's Crimson Veils 2. Exaltation of Larks 3. Cats on the Briar 4. The Colour of Poison 5. Descending Belladonna 6. She Rides an Air of Malevolence 7. Maidens Catafalque 8. An Unnatural Carousel 9. The Mandrake's Hymn 10. A Wretched Country of Dusk